anxa 

92-B 

20387 


FiFtXOE  lO  CEKrTS. 

Proofs  and  Prints, 


ENGRAVINGS  AND  ETCHINGS; 


HOW  THEY  ARE  MADE,  THEIR  GRADES,  QUALITIES  AND 
VALUES,  AND  HOW*  TO  SELECT  THEM. 


BY 


C.  KLACKN  ER. 


NEW  YORK : 


1884. 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/proofsprintsengrOOklac 


“WILL  THEY  CONSENT?’’ 
(From  an  etching  Hamilton  Hamilton.) 


Proofs  and  Prints, 


ENGRAVINGS  AND  ETCHINGS; 

HOW  THEY  ARE  MADE,  THEIR  GRADES,  QUALITIES  AND 
VALUES,  AND  HOW  TO  SELECT  THEM. 


BY 


C.  KLACKNER. 


NEW  YORK : 


COPYRIGHT  BY 


C.  KLACKNER,  Publisher, 

East  Seventeenth  Street,  New  York. 


PREFACE. 


The  growing  taste  for  fine  proof  engravings  and  etchings  in 
this  country  has  given  rise  to  a peculiar  interest  and  inquiry 
into  the  material  features  of  this  line  of  art.  Many,  even 
among  the  most  enthusiastic  collectors,  admit  their  lack  of 
practical  knowledge,  and  the  demand  upon  print  publishers 
and  the  newspapers  for  information  is  constant  and  extensive. 
In  view  of  this  fact,  the  author  gives  out  this  little  volume,  not 
as  an  essay  on  the  art,  but  as  a handy  guide  to  those  whose 
taste  or  inclination  lead  them  to  invest  in  its  products.  Its 
briefly  stated  facts  furnish  the  information  essential  to  an  in- 
telligent investment  in  engravings  or  etchings,  and  will,  it 
is  trusted,  be  found  of  interest  as  well  as  use  to  every  reader. 
The  author  has  not  attempted  an  elaborate  or  exhaustive 
treatment  of  the  subject,  bixt  a simple  statement  of  the  facts 
essential  to  a safe  purchase  of  the  works  of  art  with  which 
“Proofs  and  Prints”  deals. 


K. 


CONTENTS 


LINE  ENGRAVING- 

I.  — Engraving, 

II.  — Printing. 

III.  — Remark  Proofs. 

\ 

IV.  — Artist’s  Proofs. 

V. — Proofs  Before  Letters. 

VI.  — India  Prints. 

VII.  — Plain  Prints. 

VIII. — The  Value  of  Proofs. 

IX. — Copyrighted  Pictures. 

ETCHINGS— 

I. — Etching. 

II. — Printing  Etchings. 

III.  — Paper. 

IV.  — Painter  Etchings. 


V. — Reproductive  Etchings. 


LINE  ENGRAVING 


I. 

ENGRAVING. 

The  processes  of  eugraviDg  are  so  numerous  that  it  would  be 
impossible  to  enter  into  a detailed  description  cf  them  in  any 
space  lets  than  a volume.  Engraving  in  line,  however,  is  that 
which  occupies,  and  justly,  the  highest  favor,  and  its  method 
may  be  summarized  as  follows  : 

The  line  engraving  is  produced  by  incising  the  design  upon 
a steel  or  copper  plate  with  the  dry  point  and  burin,  or  by 
combining  the  work  of  these  tools  with  that  of  acid.  As  a 
rule  the  first  work  of  the  engi’aver  is  to  draw  his  design  in 
broad  masses  upon  the  plate  and  etch  or  bite  it  in,  finishing 
the  work  with  the  graver.  The  process  of  etching  will  be 
described  in  its  place.  The  working  up  of  an  engraving  after 
it  has  been  etched  is  the  test  of  tl:e  engraver’s  art.  It  is  liere 
that  his  delicacy  cf  touch  and  his  firmness  of  hand,  his  correct 
eye  and  his  mechanical  skill  come  into  play.  In  the  perfect 
engraving  the  line  made  by  free  liand  must  be  as  clean  and 
unwavering  as  that  traced  by  a machine. 

The  only  m.achinery  used  in  line  engraving  is  the  ingenious 
mechanism  by  which  the  parallel  lines  in  skies  and  back- 
grounds are  produced.  The  ruler  oj)erates  with  remarkable 
accuracy,  producing  the  finest  gradations  of  lint.  But  the 
delicate  modulations  of  form  and  flesh  and  the  artistic  rejire- 
sentations  of  texture  can  only  be  produced  by  the  sentient 
machinery  of  hand  and  brain. 

The  tools  of  tlie  engraver  are  the  burin,  a triangular  rod  of 
empered  steel  ground  to  a point,  used  for  producing  the 
strong  lines,  and  the  dry  j>oint,  which  is  a tempered  steel 
needle  firmly  fixed  in  a handle,  for  the  more  rlelicate  work. 


8 


Copper  is  rarely  used  in  line  engraving  now,  as  the  metal  is 
too  soft  to  last  long  under  the  press.  Steel  plates,  whose  sur- 
faces are  perfectly  polished  and  free  from  inequalities  or 
scratches,  are  the  pages  on  which  the  engraver  designs  with 
indelible  characters. 

Line  engraving  has  justly  been  called  the  perfection  of  the 
engraver’s  art.  It  brings  into  play  all  of  his  executive  genius 
and  his  artistic  feeling,  and  the  perfect  line  engraving  is  and 
ever  will  be  the  purest  example  of  the  alliance  of  artistic  with 
mechanical  skill. 


II. 

PRINTING. 

The  printing  of  a line  engraving  is  am  operation  of  the  high- 
est importance.  According  as  a plate  is  well  or  badly  printed 
the  value  of  the  engraving  is  brought  out  or  lost.  The 
operation  of  printing  is  in  itself  simple  enough.  It  is  the 
intelligence  with  which  it  must  be  performed  which  renders  it 
one  of  the  skilled  trades. 

The  plate  to  be  printed  is  heated  to  a moderate  temperature 
on  a stone  slab  under  which  a flame  of  gas  is  kept  burning. 
This  is  necessary  to  permit  the  ink  to  flow  and  enter  the  depths 
of  the  lines.  The  ink  is  thick  and  oleaginous,  and  is  daubed 
over  the  plate  until  the  lines  are  all  filled.  The  surface  of  the 
plate  is  then  wiped  with  a cloth  and  polished  with  the  palm  of 
the  printer’s  hand.  This  cleans  the  surface  perfectly,  without 
disturbing  the  ink  in  the  lines.  A poor  printer  will,  however, 
rub  the  ink  in  the  delicate  lines  out,  too,  and  produce  a broken 
or  rotten  impression,  giving  only  the  coarse  work,  and  thus 
destroying  all  the  harmony  and  gradation  of  the  engraving. 

The  plate,  still  warm,  is  placed  upon  a press;  the  paper, 
which  is  damp,  is  laid  upon  it,  and  it  is  rolled  under  a roller 
padded  out  with  blankets,  whose  pressure  forces  the  paper 
into  the  lines  till  it  takes  up  the  ink  which  fills  them.  A tre- 
mendous power  is  required  for  this,  and  the  variation  of  a spi- 
der’s web  in  the  regulation  of  the  pressure  will  render  the 
impression  defective.  If  a plate  is  allowed  to  cool  before  it  is 
put  under  the  press  the  ink  also  will  harden  in  the  lines  and 
the  paper  will  not  take  it  up.  The  dampening  of  the  paper  is 
necessary  to  keep  it  from  adhering  to  the  plate. 


9 


The  paper  used  in  ordinary  plate-printing  is  a fine,  white 
paper,  manufactured  especially  for  the  purpose.  It  varies  in 
thickness  according  to  the  size  of  the  plate.  Proofs  are  printed 
on  India  paper,  for  wdiich  no  substitute  for  the  finest  ]U-inting 
has  yet  been  discovered.  India  paper  is  a production  of  the 
East,  as  its  name  implies.  Its  substance  is  vegetable  fibre  and 
it  possesses  an  amazing  tenacity,  delicate  richness  of  color 
and  beauty  of  surface.  India  paper  of  the  best  quality  is  diffi- 
cult to  procure  and  very  costly. 

In  taking  India  proofs,  the  India  paper,  cut  to  the  proper 
proportion,  is  carefully  laid  upon  the  plate,  a sheet  of  ordi- 
nary plate  paper  is  laid  over  it  and  it  is  run  through  the  press. 
The  glutinous  quality  of  the  India  paper  and  the  pressure  cause 
it  to  adhere  to  the  plate  paper  and  it  comes  out  mounted  and 
ready  for  use.  Remark  and  Artist  proofs  require  so  much 
care  in  printing  that  only  a few  impressions  can  be  made  in  a 
day,  but  all  grades  of  plate  impressions  are  the  product  of 
time  and  care,  which  increases  in  proportion  to  the  quality 
required. 


Ill, 

REMARK  PROOFS. 


There  are  several  grades  of  proofs,  each  of  which  lias  a 
special  name  and  value.  The  Remark  (from  the  French  “Re- 
marque ”)  proof  is  the  choicest  and  most  valuable.  The  Re- 
mark is  a special  sketch  or  emblem  engraved,  at  the  engrav- 
er’s fancy,  upon  the  margin  of  the  plate,  as  thus  : 


. Remarks  are  not  always  attached  to  engravings;  usually 
pnly  to  the  most  costly  and  important  plates.  There  are  at 
times  as  many  as  100  impressions  taken  of  the  Remark  jilatc, 
but  50  IS  the  customary  limit.  The  Remark  proofs  are  the 
first  impressions  taken.  They  are  jirinted  with  the  utmost 


10 


care,  and  develop  all  the  value  of  the  engraving,  every  copy 
which  exhibits  an  imperfection,  even  in  a line,  being  de- 
stroyed. 

IV. 

ARTIST’S  PROOFS. 

After  the  Remai’k  proofs  are  made,  the  Remark  is  polished 
off  of  the  plate  and  the  Artist’s  proofs  are  taken.  These  usually 
number  200.  Like  the  Remark  proofs,  they  are  executed 
with  the  most  painstaking  care ; but  they,  of  course,  lack  the 
value  of  the  mark  which  stamps  the  first  impressions  of  an 
engraving  as  cherished  rarities.  The  Artist’s  proof  is  dis- 
tinguished by  the  name  of  the  painter  and  the  engraver  or 
etcher,  as  thus  ; 


When  the  name  of  either  the  one  or  the  other  is  omitted,  as 
may  be  in  case  of  the  death  of  artist  or  engraver,  the  value  of 
the  proof  is  not  impaired.  Any  signed  proof,  with  one  or  two 
names,  is  an  Artist’s  proof.  If  no  Remark  proofs  exist  they  are 
the  first  impressions  taken,  otherwise  the  second. 

V. 

PROOFS  BEFORE  LETTERS. 

The  proofs  before  letters  are  printed  immediately  after 
the  Artist’s  proofs.  They  usually  consist  of  100  copies. 

^ They  are  never  signed  by  artist  or  engraver,  but  have  their 

names  engraved  on  the  right  and  left  hand  corners  of  the  plate 
respectively,  in  small  letters.  They  also  have  the  publisher’s 
mark  and  address  on  the  bottom,  in  this  way : 

T.  W.  Wood,  pinxit.  C.  Klackner,  pub.  F.  Qirsch,  eng. 


VI. 

INDIA  PRINTS. 

India  prints  are  the  most  desirable,  after  the  Artist’s  proofs 
and  proofs  before  letters.  They  have  the  title  engraved  upon 
them  as  well  as  the  artist’s  and  engraver’s  names  and  the  pub- 
lisher’s marks.  The  edition  is  not  limited  in  number. 
Their  superiority  to  ordinary  prints  is  due  to  the  superior 


11 


(juality  of  the  impression  produced  by  the  India  paper,  -while 
they  lack  the  choiceness  and  consequent  rarity  of  the  preced- 
ing grades. 


Aai. 

PLAIN  FEINTS. 

Plain  prints  are  impressions  on  linen  paper.  They  have  all 
the  marks  and  letters  of  India  prints,  and  are  printed  with  equal 
care.  The  paper,  however,  renders  them  of  less  value  than  the 
India  impressions,  because  the  quality  of  the  latter  paper  en- 
hances the  beauty  while  it  increases  the  cost  of  the  proof. 


VIIL 

THE  VALUE  OE  PROOFS. 

The  value  of  a proof  is  regulated  by  the  cost  of  engraving  a 
plate  and  by  the  number  of  proofs  issued.  It  can  be  readily 
understood  that  engravings  from  a plate  which  cost  $5,000, 
and  of  which  only  100  proofs  were  taken,  cannot  be  sold  at  the 
price  of  a plate  which  cost  $2,500.  If  the  edition  from  the 
$5,000  plate  is  unlimited,  however,  while  that  of  the  $2,500  is 
restricted  to  100,  the  latter  may  be  more  valuable,  not  because 
of  its  quality,  but  its  rarity.  Quality  and  quantity  thus  go 
hand  in  hand  and  are  dependent  upon  one  another. 

The  size  of  a plate  has  little  to  do  in  regulating  tlie  price  of 
proofs.  An  engraver  may,  as  in  the  case  of  the  “Madonna  di 
San  Sisto,”  on  which  Mandel  worked  more  than  ten  years,  de- 
vote a good  part  of  a lifetime  to  a plate,  while  one  four  times 
the  size  may  be  completed  in  a year.  Tlie  quality  of  a plate, 
which  is  dependent  on  the  time  devoted  to  it,  is  tlie  first  test 
of  its  value. 

To  insure  choice  impressions  it  is  always  desirable  to  obtain 
the  first  grade,  be  it  lleniark  or  Artist’s  proof.  The  rapid  sale 
of  Artist  proofs  in  this  country  and  Euroiie  exhausts  the  lim- 
ited number  printed  in  a very  shorthime.  The  entire  edition  is 
frequently  sold  immediately  after  publication.  Publishers  in 
most  casesreserve  the  right  to  advance  the  price,  so  that  in 
numerous  instances  early  jiurchasers  can  obtain  a handsome 
advance  on  the  first  cost  very  shortly  after  purchasing.  “L’An- 
* gelus,”  by  IVIillet,  published  at  $187,  has  advanced  to  $250,  and 


12 


is  difficult  to  purchase  at  that  price;  “The  Jersey,”  painted  by 
Douglas,  and  published  at  $30,  has  risen  as  high  as  $175 ; Art- 
ist proofs  of  the  engraving  of  ‘ ‘Far  Away,”  after  J G.  Brown, 
by  F.  Girsch,  recently  published  at  $30,  has  already  risen  to 
$65;  “Inspiration,”  by  S.  J.  Ferris,  has  reached  $75  from  $30, 
and  “The  Vesper  Hour,”  a fine  etching  by  King,  scarcely 
three  months  old,  has  advanced  from  $30  to  $45.  Another  ex- 
ample is  in  the  beautiful  etchings  by  A.  F.  Bellows,  “The 
Inlet”  and  “The  Millstream,”  which  were  published  at 
$18  and  now  bring  $45. 

Such  examples  could  be  multiplied  to  apply  to  hundreds  of 
engravings.  They  will,  however,  serve  to  show  that  while  the 
best  and  most  perfect  impressions  are  the  most  expensive,  they 
are  worth  their  cost,  for  one  may  enjoy  their  use  for  years 
while  they  are  all  the  time  earning  interest  on  themselves. 


IX. 

COPYRIGHTED  PICTURES. 

The  popularity  and  value  of  original  American  engrav- 
ings are  to  a great  extent  enhanced  by  the  absence 
of  an  international  copyright  law.  This  leaves  the  finest 
foreign  works  open  to  cheap  reproduction,  which  must  to  a 
certain  extent  impair  the  value  of  the  legitimate  impressions. 
An  illustration  is  shown  in  the  frequent  and  barefaced  appro- 
priation of  the  most  costly  foreign  engravings  for  the 
commonest  sorts  of  advertising  here.  The  numerous  mechan- 
ical processes  of  reproduction  render  this  piracy  the  more  easy 
and  common. 

American  plates,  protected  by  copyright,  are,  however,  safe. 
Their  value  is  certain  to  be  preserved,  if  not  to  advance  with 
time,  secure  from  any  of  the  aggressions  to  which  every 
unprotected  work  is  open. 


I 


ETCHINGS, 


ETCHING. 


The  art  of  etching  is  as  distinct  from  that  of  engraving  as  its 
results  are,  though  certain  of  the  methods  of  engraving  are  em- 
ployed. Its  process  may  be  briefly  described  as  follows: 

A polished  copper  plate  is  covered  with  a ground  of  varnish 
prepared  for  the  purpose,  and  upon  it  the  design  is  drawn,  line 
for  line,  as  it  is  intended  to  appear  on  paper,  with  a sharp 
needle,  which  scratches  through  the  varnish  to  the  plate  and 
leaves  the  metal  bare.  It  is  exactly  like  making  a pen  draw- 
ing, save  that  a needle  is  employed  instead  of  a pen.  When 
the  design  is  completed  the  surface  of  the  plate  is  flooded  with 
aquafortis.  This  attacks  the  spots  laid  bare  by  the  needle, 
without  jjenetrating  where  the  varnish  is  untouched,  and  bites 
into  the  copper.  When  the  liner  lines  are  deep  enough  the  acid 
is  poured  oil,  and  they  are  covered  orsto])ped  out  with  varnish. 
The  acid  is  applied  again  and  again  in  this  way,  biting  the 
lines  to  the  depth  required,  the  heaviest  and  strongest  lines 
naturally  receiving  the  most  biting.  The  etcher’s  eye  and  his 
knowledge  are  his  only  guides  in  this  process,  and  a miscalcu- 
lation in  the  strength  of  the  acid  or  the  time  it  is  permitted  to 
remain  on  the  jilate  often  ruins  a line  work. 

After  being  bitten  in,  etchings  usually  receive  some  linish 
with  the  dry  point.  This  is  a needle  which  is  used  to  scratch 
supplementary  lines  upon  the  plate,  strengthening  parts  which 
are  not  bitten  deep  enough.  Some  etchings  arc  made  almost 
entirely  with  the  dry  point,  like  those  of  James  Tissot.  Their 
effect  is  wonderfully  powerful  and  rich.  In  simple  etching  tlie 
effect  is  produced  by  a line  in  the  plate,  but  in  dry  point  it 


14 


comes  not  only  from  the  line  but  from  a ridge  of  metal,  or  bur 
as  it  is  called,  which  is  ploughed  up  by  the  needle  and  which 
catches  the  ink  and  gives  a softness  to  the  edge  of  the  line. 

The  bur  is  produced  in  all  engraving,  whether  on  steel  or 
copper,  but  in  line  engravings  it  is  scraped  and  burnished  away, 
as  the  chief  beauty  of  a work  of  that  sort  is  its  cleanness  of 
line.  In  the  etching,  on  the  contrary,  where  a general  richness 
of  effect  is  desired,  it  is  often  a powerful  assistance  to  the 
artist. 


II. 

PRESrimG  ETCHEStGS. 

The  printing  of  etchings  is  a fine  art,  where  that  of  engrav- 
ing is  only  a skilled  labor.  In  an  engraving  all  that  is  re- 
quired is  a clean  line,  so  that  that  the  engraver’s  work  may 
show  to  full  advantage.  But  a portion  of  the  effect  of  an  etching 
comes  from  the  skill  with  which  the  plate  is  manipulated. 

When  the  etcher  completes  his  plate  it  is  a drawing  made 
with  free  lines,  each  of  which  will  hold  ink.  But  additional 
effects  can  be  secured  by  leaving  a film  of  ink  over  portions  of 
the  plate.  Delicate  shades  of  sky  and  water,  and  rich  sweeps 
of  shadow,  are  thus  produced.  It  is  for  this  reason  that  many 
etchers  print  their  own  plates ; others  supervise  the  printing. 
Those  who  do  not,  furnish  proofs  with  the  effects  they  desire 
produced  upon  them,  which  the  printer  is  obliged  to  copy. 

The  ink  is  dabbed  on  the  plate  with  a cloth  dabber.  Then 
the  printer  wipes  it,  first  with  a tarletan  and  afterward  with  a 
fine  rag,  taking  off  all  the  ink  where  high  lights  are  called  for 
and  leaving  a thicker  or  thinner  film  where  a shade  is  re- 
quired. The  ink  itself  plays  unimportant  part  in  the  printing. 
The  colors  employed  are  usually  brown  or  black,  or  a combi- 
nation of  the  two,  though  etchings  are  sometimes  printed  in 
other  tints. 

The  dry  color  is  carefully  ground  up  with  linseed  oil  of 
double  strength,  till  it  is  reduced  to  a smooth  pulp.  In  the  case 
of  faintly  bitten  plates  a thinner  ink  is  used  to  bring  out  the  lines 
than  is  necessary  in  stronger  work.  Etched  plates  are  heated 
like  engraved  ones  for  inking  and  printing. 

The  etched  plate  is  printed  on  a steel  plate  press,  being 
passed  under  the  roller  on  a horizontal  table  or  slab.  It  is 


covered  ■with  a couple  of  blankets,  one  of  felt  and  the  other  of 
blanket  stuff,  the  felt  being  next  to  the  paper,  as  its  fine  text- 
ure furnishes  an  absolutely  smooth  surface  to  pressure.  Etch- 
ings require  careful  drying  after  printing,  for  the  deep  lines 
produced  by  the  acid  and  the  heavy  pressure  of  the  press 
bring  the  ink  out  upon  them  in  strong  ridges,  ■which  are  easily 
smeared  until  the  ink  is  set. 


III. 

PAPER. 

The  paper  used  in  printing  etchings  depends  in  a great 
measure  on  the  character  of  the  plate.  The  smooth  white 
paper  made  for  line  engravings  is  never  used,  however.  What- 
man’s drawing  paper  is  a favorite.  Whatman’s  vellum  paper 
also  brings  out  rich  and  heavy  work  with  splendid  effect,  its 
exquisite  surface  giving  an  especial  delicacy  to  the  finer  points 
of  the  plate.  It  is  prepared  by  a long  soaking. in  water  to  ex- 
tract the  size  from  it,  and  is  then  run  through  a press  a number 
of  times,  before  it  is  used,  to  render  it  perfectly  smooth  of  sur- 
face. 

Japanese  paper  is  used  to  a great  extent  and  produces  excel- 
lent impressions.  Its  high  reputation  is  due  to  a certain  silk- 
iness of  texture  and  surface,  ■which  is  produced  by  the  cocoons 
of  the  silkworm,  which  are  largely  used  in  its  manufacture. 

Parchment  is  noted  for  the  brilliant  and  strong  impressions 
that  it  produces  ; vellum  is  a stronger  material  than  parch- 
ment, more  solid  and  not  transparent;  vellum  is  made  of  calf- 
skin, while  parchment  is  the  finest  of  sheepskin,  carefully 
cured,  shaved  down  and  freed  from  imperfections. 

Satin  proofs  are  a magnificent  novelty  in  the  printing  of 
etchings.  Satin  possesses  a delightful  smoothness  and  brill- 
iancy of  surface,  admirably  calculated  to  bring  out  the  con- 
trast of  light  and  shade  of  a bright  plate.  Where  figures  and 
drapery  form  a feature  it  is  unapproachable,  though,  indeed, 
satin  proofs  of  any  subject  rank  among  the  especially  valuable 
ones. 

IV. 

PAINTER  ETCHINGS. 

There  are  two  classes  of  etchings  in  the  trade— painter  it 
reproductive  etchings.  The  first  named  are  tlie  orit'i/ 


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works  of  the  artists,  the  last  copies  by  artists  or  engravers 
from  the  works  of  others. 

Painter  etchings  have  the  value  of  original  works.  They 
are  esteemed  as  showing  the  methods  and  spirit  of  the  artist, 
just  as  a sketch  by  him  would.  The  fine  etchings  by  A.  P. 
Bellows  are  examples.  Those  who  own  an  etching  by  this 
master  really  own  an  original  drawing  by  him.  The  only 
difference  is  that  it  is  drawn  on  metal  instead  of  paper,  and 
can  be  mechanically  reproduced. 

The  etchings  of  such  painters  as  Kruseman  van  Elteu, 
Henry  Farrer,  Hamilton  Hamilton,  W.  H.  Shelton,  J.  Wells 
Champney,  C.  A.  Platt,  J.  A.  S.  Monks  and  other  well  known 
artists  have  achieved  a popularity  with  the  public  second  only 
to  that  of  their  pictures  themselves. 

Good  painter  etchings  always  increase  in  value,  in  propor- 
tion to  the  reputation  of  the  artist  and  the  number  printed. 
Large  editions  are,  however,  very  rarely  made. 


REPRODUCTIVE  ETCHINGS. 

Reproductive  etchings  are  copies  of  pictures.  Many  artists 
of  distinguished  merit,  who  produce  the  finest  original  work, 
are  also  reproductive  etchers.  Witness,  for  instance,  Walter 
Shirlaw,  Stephen  J.  Ferris,  Stephen  Parrish,  Hamilton  Hamil" 
ton  and  others.  Among  the  best  of  our  distinctly  reproductive 
etchers  are  James  S.  King,  whose  plate  of  “The  Vesper 
Hour  ” is  one  of  the  most  popular  ever  published  here,  and 
John  T.  Bentley,  whose  architectural  plates  are  justly 
regarded  as  the  most  picturesque  and  masterly  etchings  of 
their  character  produced  in  the  United  States. 


JUST  PUBLISHED. 

THE  FOLLOWING  ETCHINGS  AND  ENGRAVINGS. 

“The  Parting  Day,”  (From  Gray’s  • Elegy,”)  Gr.  D.  CLEMENTS. 

“The  Vesper  Hour,” “ ‘ 

“When  We  Were  Boys,” B.  Lander. 

“Saturday  Afternoon,” “ 

“A  New  England  Harbor,’ J-  C.  Nicholl. 

“Off  the  Battery,” “ 

“Will  They  Consent?” H.  Hamilton. 

“Between  Two  Fires,”  W.  T.  Smedley. 

“The  Dairymaid,” J.  M.  Tracy. 

“A  Jersey,” C.  Wiggins. 

“Far  From  Home,” J.  G.  Brown. 

“ In  an  Old  Pasture,” J.  A.  S.  IMonks. 

“Return  From  Pasture,” “ “ 

“Mountain  Top,” “ “ 

“ At  Dusk,” “ “ 

“ Evening  on  the  Delaware,”  J.  H.  Millspaugh. 

“ Village  Mills,” 

“ Lake  View,” “ 

“ New  York  Bay,’’  yersey  Shore “ 

“Solitude,” “ 

“The  Inlet,” A.  F.  Bellows. 

“The  Mill-stream,” “ 

“ The  Ferry,” ...  “ 

“At  Dawn,’’ “ 

“Peaceful  Evening,” “ 

“Summer  Evening,” “ 

“Venice,” Stephen  Paris  ii. 

“Winter  at  Trenton,” “ 

“ Watching  and  Wailing,”  Jas.  S.  King. 

“ Far  Away,”  and  others. 

The  above  protected  by  copyright,  and  to  be  obtained 
of  dealers  everywhere. 


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